ARTIST STATEMENT
My illustrations for books and magazines are done in collage.
In them I use papers with different textures to express the essence of different elements- water, soil, plants or sky.
I like to combine the spontaneous style of roughly torn papers with the delicate and carefully drawn faces of human beings.
Since I believe that the merging of beauty and spirit can heal, I take great care when working on the facial expressions.
Like a filmmaker, or an actor trying to understand her role, I am interested in the psychological penetration of the people I
portray- a good illustration can give flavor and sustenance to a story by visually depicting the human depth of its characters.
Being illustration, my art has an inherently narrative quality.
Unlike the work of a fine artist, the real essence of my art emerges as I carry an already existing story further. What makes this
interesting is that the stories I am to illustrate always force me to research subjects I would formerly have never known to
exist. They carry my art into territories unknown, and beckon me to transform them through my pictorial handwriting.
While growing up in East Germany, a country where travel to non-socialist counties was prohibited, I nurtured an intense
yearning for people from other cultures and far away places. This yearning has led to my interest in foreign languages, brought
me to New York, and resulted in me becoming a multicultural illustrator.
I am strongly influenced by Eastern thought and art. An Asian way of seeing and composing space is seeping into my drawings
more and more.
Furthermore, an increasing remoteness from realism in my style affords me to show things behind things, thoughts not
thinkable in words, truths only conveyable through moods.
My illustrations for books and magazines are done in collage.
In them I use papers with different textures to express the essence of different elements- water, soil, plants or sky.
I like to combine the spontaneous style of roughly torn papers with the delicate and carefully drawn faces of human beings.
Since I believe that the merging of beauty and spirit can heal, I take great care when working on the facial expressions.
Like a filmmaker, or an actor trying to understand her role, I am interested in the psychological penetration of the people I
portray- a good illustration can give flavor and sustenance to a story by visually depicting the human depth of its characters.
Being illustration, my art has an inherently narrative quality.
Unlike the work of a fine artist, the real essence of my art emerges as I carry an already existing story further. What makes this
interesting is that the stories I am to illustrate always force me to research subjects I would formerly have never known to
exist. They carry my art into territories unknown, and beckon me to transform them through my pictorial handwriting.
While growing up in East Germany, a country where travel to non-socialist counties was prohibited, I nurtured an intense
yearning for people from other cultures and far away places. This yearning has led to my interest in foreign languages, brought
me to New York, and resulted in me becoming a multicultural illustrator.
I am strongly influenced by Eastern thought and art. An Asian way of seeing and composing space is seeping into my drawings
more and more.
Furthermore, an increasing remoteness from realism in my style affords me to show things behind things, thoughts not
thinkable in words, truths only conveyable through moods.
Click here to read about the making of KING FOR A DAY:
